Cherry Orchard Quotes

Perhaps man has a hundred senses, and when he dies only the five senses that we know perish with him, and the other ninety-five remain alive.

I should think I'm going to be a perpetual student.

And what does it mean -- dying? Perhaps man has a hundred senses, and only the five we know are lost at death, while the other ninety-five remain alive.

A hungry dog believes in nothing but meat.

We just philosophize, complain of boredom, or drink vodka. It's so clear, you see, that if we're to begin living in the present, we must first of all redeem our past and then be done with it forever. And the only way we can redeem our past is by suffering and by giving ourselves over to exceptional labor, to steadfast and endless labor.

Going to see plays isn't what you people should do. Try looking at yourselves a little more often and see what gray lives you all lead. How much of what you say is unnecessary.

What she can't get into her narrow mind is that we're above such things as love. Our whole aim - the whole sense of our life - is to avoid petty illusions that stop us being free and happy. On, on, on!

I am a man of cultivation; I have studied various remarkable books, but I cannot fathom the direction of my preferences; do I want to live or do I want to shoot myself, so to speak? But in order to be ready for all contingencies, I always carry a revolver in my pocket.

I've seen spring come to the orchard every year as far back as I can remember and I've never grown tired of it. Oh, the wonder of it! The outrageous beauty! God didn't have to give us cherry blossoms you know. He didn't have to make apple trees and peach trees burst into flower and fragrance. But God just loves to splurge. He gives us all this magnificence and then, if that isn't enough, He provides fruit from such extravagance.

NINA: ...what's important is...the ability to endure. To be able to bear one's cross and have faith. I have faith, and it's not so painful now, and when I think of my vocation, I'm not afraid of life.

Life’s all done, just as if I never even lived it ...

Yearning is a red-haired girl sitting on the hood of her silver sedan, reading about Marilyn Monroe. A cherry orchard at night, houselights in the distance. It's the painstaking neatness of a paint-by-number sunset, a yellowed letter held between graceful fingers, a cautious step into the sun-filled lobby of a famous hotel. It's the way I feel every time I think about Ava.

A cold wind raced across the surrounding fields of wild grass, turning the land into a heaving dark-green ocean. It sighed up through the branches of cherry trees and rattled the thick leaves. Sometimes a cherry would break loose, tumble in the gale, fall and split, filling the night with its fragrance. The air was iron and loam and growth. He walked and tried to pull these things into his lungs, the silence and coolness of them. But someone was screaming, deep inside him. Someone was talking. ("Hunger")

We’re in a cherry orchard.” Emily raises her voice. “Who’s going to cancel us? The dog?

But if we reason it out simply and not try to be one bit fancy, then what sort of pride can you possibly take or what's the sense of ever having it, if man is poorly put together as a physiological type and if the enormous majority of the human race is brutal, stupid, and profoundly unhappy?

When I sound the fairy call, gather here in silent meeting, Chin to knee on the orchard wall, cooled with dew and cherries eating. Merry, merry, take a cherry, mine are sounder, mine are rounder, Mine are sweeter for the eater, when the dews fall, and you'll be fairies all.

I love him, love him. He's a millstone round my neck - he'll take me to the bottom with him. But I love this millstone of mine - I can't live without it.

We shall die all the same.

They are all very serious people with stern expressions on their faces. They discuss nothing but important matters and like to philosophize a great deal, while at the same time everyone can see that the workers are detestably fed, sleep without suitable bedding, thirty to forty in a room with bedbugs everywhere, the stench, the dampness, and the moral corruption... Obviously all our fine talk has gone on simply to hoodwink ourselves and other people as well. Show me the day nurseries that they're talking about so much about. And where are the libraries? Why, they just write about nurseries and libraries in novels, while in fact not a single one even exists. What does exist is nothing but dirt, vulgarity, and a barbarian way of life... I dislike these terribly serious faces, they frighten me, and I'm afraid of serious conversations, too. We'd be better off if we all would just shut up for a while!

LUBOV. I'm quite sure there wasn't anything at all funny. You oughtn't to go and see plays, you ought to go and look at yourself. What a grey life you lead, what a lot you talk unnecessarily.

I saw a sign for "Book's" with an apostrophe in it, and something deep inside me snapped; snapped with that melancholy sound you hear in Chekhov's The Cherry Orchard, like a far-off cable breaking in a mine-shaft.

I know exactly the potential of the people around here. They have the potential to lie. They have the potential to deceive. They have the potential to inveigle. They’ll change nothing. Sometimes, when I can’t sleep, I lie awake thinking, my God! We have so much. We have these huge forests. We have boundless open fields. We can see the deepest, furthest horizons. Look around you. Look. We should be giants. We really, really aren’t.

Daca pentru o boala se prescriu multe leacuri, sa stii ca boala e de nelecuit.

There is something mystical in the proud man in the sense in which you use the words. You may be right from your point of view, but, if we look at it simple-mindedly, what room is there for pride? Is there any sense in it, when man is so poorly constructed from the physiological point of view, when the vast majority of us are so gross and stupid and profoundly unhappy? We must give up admiring ourselves. The only thing to do is to work.

Dã-mi, Doamne, ce n-am gîndit, sã mã mir ce m-a gãsit... Aşa şi cu mine. De îmbogãţit m-am îmbogãţit, am parale cu carul... Dar cînd stau sã chibzuiesc şi sã judec mai bine, tot ţãran am rãmas...

All down the stone steps on either side were periwinkles in full flower, and she could now see what it was that had caught at her the night before and brushed, wet and scented, across her face. It was wistaria. Wistaria and sunshine . . . she remembered the advertisement. Here indeed were both in profusion. The wistaria was tumbling over itself in its excess of life, its prodigality of flowering; and where the pergola ended the sun blazed on scarlet geraniums, bushes of them, and nasturtiums in great heaps, and marigolds so brilliant that they seemed to be burning, and red and pink snapdragons, all outdoing each other in bright, fierce colour. The ground behind these flaming things dropped away in terraces to the sea, each terrace a little orchard, where among the olives grew vines on trellises, and fig-trees, and peach-trees, and cherry-trees. The cherry-trees and peach-trees were in blossom--lovely showers of white and deep rose-colour among the trembling delicacy of the olives; the fig-leaves were just big enough to smell of figs, the vine-buds were only beginning to show. And beneath these trees were groups of blue and purple irises, and bushes of lavender, and grey, sharp cactuses, and the grass was thick with dandelions and daisies, and right down at the bottom was the sea. Colour seemed flung down anyhow, anywhere; every sort of colour piled up in heaps, pouring along in rivers....

In silence they landed, and pushed through the blossom and scented herbage and undergrowth that led up to the level ground, till they stood on a little lawn of a marvellous green, set round with Nature's own orchard-trees—crab-apple, wild cherry, and sloe.

Tot ceea ce ne depăşeşte azi într-o zi va fi un lucru pe înţelesul tuturor, obişnuit.

E ca o piatră care-mi stă legată de gat şi mă trage la fund, dar vezi, eu iubesc piatra asta şi nu pot fără ea.

Please leave me alone. I’m dreaming.

Under an orchard tree, dropping with cherries, cowgirls lay in the shade. They fed each other fruit. Dark juice dribbled into dimples. Cherry meat stained smiles and nostrils.

If there was no such thing as food, Oyster Bay would be called just Bay, and for the title of The Cherry Orchard Chekhov would have chosen A Group of Empty Trees, Regularly Spaced.

Cîteodatã, cînd nu pot s-adorm, mã gîndesc: «Doamne, tu ne-ai dat pãduri nesfîrsite, cîmpii cît vezi cu ochii, zãri fãrã de margini, si trãind în ele, ar fi trebuit sã fim si noi niste uriasi...»

Rãsare luna. (Pauzã.) latã fericirea! Uite-o, vine, se apropie tot mai mult, tot mai mult, îi aud pasii. Si chiar dacã noi n-o vom vedea, n-o vom cunoaste, n-are nici o importanþã... Vor vedea-o altii!

That ride was perhaps the most wonderful thing that happened to them in Narnia. Have you ever had a gallop on a horse? Think of that; and then take away the heavy noise of the hoofs and the jingle of the bit and imagine instead the almost noiseless padding of the great paws. Then imagine instead of the black or grey or chestnut back of the horse the soft roughness of golden fur, and the mane flying back in the wind. And then imagine you are going about twice as fast as the fastest racehorse. But this is a mount that doesn't need to be guided and never grows tired. He rushes on and on, never missing his footing, never hesitating, threading his way with perfect skill between tree trunks, jumping over bush and briar and the smaller streams, wading the larger, swimming the largest of all. And you are riding not on a road nor in a park nor even on the downs, but right across Narnia, in spring, down solemn avenues of beech and across sunny glades of oak, through wild orchards of snow-white cherry trees, past roaring waterfalls and mossy rocks and echoing caverns, up windy slopes alight with gorse bushes, and across the shoulders of heathery mountains and along giddy ridges and down, down, down again into wild valleys and out into acres of blue flowers.

Beyond that was a small orchard, its trees appearing to hold the first signs of apples. Cherry blossoms bloomed in the May warmth, forming neat columns of shady pathways. The manicured grass, so unlike the wild fields of the farm, was intersected by meandering pebbled walkways, where her ladies must tread when receiving finely dressed visitors. Birdsong pierced the blue sky, as did the aroma of fresh-petaled flowers.

You go to class and discuss famous poems. The poems are full of swans, gorse, blackberries, leopards, elderflowers, mountains, orchards, moonlight, wolves, nightingales, cherry blossoms, bog oak, lily-pads, honeybees. Even the brand-new ones are jam-packed with nature. It’s like the poets are not living in the same world as you. You put up your hand and say isn’t it weird that poets just keep going around noticing nature and not ever noticing that nature is shrinking? To read these poems you would think the world was as full of nature as it ever was even though in the last forty years so many animals and habitats have been wiped out. How come they don’t notice that? How come they don’t notice everything that’s been annihilated? If they’re so into noticing things? I look around and all I see is the world being ruined. If poems were true they’d just be about walking through a giant graveyard or a garbage dump. The only place you find nature is in poems, it’s total bullshit. Even the sensitive people are fucking liars, you say. No, you don’t, you sit there in silence like always.

Have you ever seen a really beautiful production of, say, The Cherry Orchard? Don't say you have. Nobody has. You may have seen 'inspired' productions, 'competent' productions, but never anything beautiful. Never one where Chekhov's talent is matched, nuance for nuance, idiosyncrasy for idiosyncrasy, by every soul on-stage. You worry hell out of me, Zooey. Forgive the pessimism, if not the sonority. But I know how much you demand from a thing, you little bastard. And I've had the hellish experience of sitting next to you at the theatre. I can so clearly see you demanding something from the performing arts that just isn't residual there. For heaven's sake, be careful.

My Last Duchess That’s my last Duchess painted on the wall, Looking as if she were alive. I call That piece a wonder, now: Fra Pandolf’s hands Worked busily a day, and there she stands. Will’t please you sit and look at her? I said “Fra Pandolf” by design, for never read Strangers like you that pictured countenance, The depth and passion of its earnest glance, But to myself they turned (since none puts by The curtain I have drawn for you, but I) And seemed as they would ask me, if they durst, How such a glance came there; so, not the first Are you to turn and ask thus. Sir, ’twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek: perhaps Fra Pandolf chanced to say “Her mantle laps Over my lady’s wrist too much,” or “Paint Must never hope to reproduce the faint Half-flush that dies along her throat”: such stuff Was courtesy, she thought, and cause enough For calling up that spot of joy. She had A heart—how shall I say?—too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Sir, ’twas all one! My favour at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace—all and each Would draw from her alike the approving speech, Or blush, at least. She thanked men,—good! but thanked Somehow—I know not how—as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. Who’d stoop to blame This sort of trifling? Even had you skill In speech—(which I have not)—to make your will Quite clear to such an one, and say, “Just this Or that in you disgusts me; here you miss, Or there exceed the mark”—and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse, —E’en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile? This grew; I gave commands; Then all smiles stopped together. There she stands As if alive. Will’t please you rise? We’ll meet The company below, then. I repeat, The Count your master’s known munificence Is ample warrant that no just pretence Of mine for dowry will be disallowed; Though his fair daughter’s self, as I avowed At starting, is my object. Nay, we’ll go Together down, sir. Notice Neptune, though, Taming a sea-horse, thought a rarity, Which Claus of Innsbruck cast in bronze for me!

أنا أخاف السحنات الجدية جدا ولا أحبها ، أخاف الأحاديث الجدية ، الأفضل أن نصمت !

أنا شخص مثقف، أقرأ شتى الكتب الرائعة، لكني لا أستطيع أبدأ أن أحدد الإتجاة، وما الذي أريده في الواقع، وهل أعيش أم أنتحر!

ربما كان لدى الإنسان مائة حاسة، وبالموت تموت فقط الحواس الخمس المعروفة لنا، أما الخمس والتسعون الباقية فتظل حية.

И что значит - умрешь? Быть может, у человека сто чувств и со смертью погибают только пять, известных нам, а остальные девяносто пять остаются живы.

Dar cîti oameni sînt, frate, în Rusia, care nici nu stiu de ce sînt pe pãmînt!

Because it’s true: more than the highlights, the bright events, it was in the small and the daily where she’d found life. The hundreds of times she’d dug in the soil of her garden, each time the satisfying chew of spade through soil, so often that this action, the pressure and release and rich dirt smell, delineated the warmth she’d found in that house in the cherry orchard.

It as mathematical, marriage, not, as one might expect, additional; it was exponential. This one man, nervous in a suite a size too small for his long, lean self, this woman, in a green lace dress cut to the upper thigh, with a white rose behind her ear. Christ, so young. The woman before them was a unitarian minister, and on her buzzed scalp, the grey hairs shone in a swab of sun through the lace in the window. Outside, Poughkeepsie was waking. Behind them, a man in a custodian's uniform cried softly beside a man in pajamas with a Dachshund, their witnesses, a shine in everyone's eye. One could taste the love on the air, or maybe that was sex, or maybe that was all the same then. 'I do,' she said. 'I do,' he said. They did. They would. Our children will be so fucking beautiful, he thought, looking at her. Home, she thought, looking at him. 'You may kiss,' said the officiant. They did, would. Now they thanked everyone and laughed, and papers were signed and congratulations offered, and all stood for a moment, unwilling to leave this gentile living room where there was such softness. The newlyweds thanked everyone again, shyly, and went out the door into the cool morning. They laughed, rosy. In they'd come integers, out they came, squared. Her life, in the window, the parakeet, scrap of blue midday in the London dusk, ages away from what had been most deeply lived. Day on a rocky beach, creatures in the tide pool. All those ordinary afternoons, listening to footsteps in the beams of the house, and knowing the feeling behind them. Because it was so true, more than the highlights and the bright events, it was in the daily where she'd found life. The hundreds of time she'd dug in her garden, each time the satisfying chew of spade through soil, so often that this action, the pressure and release and rich dirt smell delineated the warmth she'd felt in the cherry orchard. Or this, each day they woke in the same place, her husband waking her with a cup of coffee, the cream still swirling into the black. Almost unremarked upon this kindness, he would kiss her on the crown of her head before leaving, and she'd feel something in her rising in her body to meet him. These silent intimacies made their marriage, not the ceremonies or parties or opening nights or occasions, or spectacular fucks. Anyway, that part was finished. A pity...

And on the day we left, ‘It’s heart-breaking. To go away from this, the one place that I love. Everything is covered in dust-sheets, windows shuttered, it reminds me of the last act of The Cherry Orchard. I go over the whole place before we leave—visit every corner of the garden and gaze for a long while at the sea. I tell them all that I shall be back soon and they understand. It all belongs to me now. One last trip in Cora Ann down-harbour before we go. Then the train.… Oh God, to exchange this for dreary bloody London.…

Noi filozofãm doar, ne plîngem de plictisealã si bem vodcã. Vezi, e atît de limpede cã pentru a începe sã trãiesti cu adevãrat trebuie mai întîi sã-þi rãscumperi trecutul, sã isprãveºti cu el! Si nu poþi sã-l rãscumperi decît prin suferinþã, printr-o muncã uriasã si neîntreruptã!

Julian presented the food. A fillet of sea bass with perfect griddle marks and a scattering of fennel picked from a nearby hedgerow. There were caramelized carrots, baby la ratte potatoes and a garnish of roasted tomatoes that had made a brief appearance in a painting that afternoon.

In hidden orchards the stone fruit ripened so fast that what we didn't eat was given to the animals, and so like chimps like finches like gilas we glutted on plums so ripe they split if looked at, cherries and blackberries staining our sheets. We distilled summer meads heady with anise and yogurt, and watered fields with the barrels' dregs. To the tidal boom of an underground aquarium, I cut a sturgeon nose to slit and ransacked its body for that other fruit, pure caviar. I looked to Aida for the salt. Sweaty, unshowered, her pubis its own rough ocean. Saline, the meat of her as she bucked against my tongue, split open, gleaming.

They drank from a spring which filled an ancient stone trough behind the ruin. Beyond it lay overgrown beds and plants John had never set eyes on before: tall resinous fronds, prickly shrubs, long grey-green leaves hot to the tongue. Nestling among them he found the root whose scent drifted among the trees like a ghost, sweet and tarry. He knelt and pressed it to his nose. 'That was called silphium.' His mother stood behind him. 'It grew in Saturnus's first garden.' She showed him the most ancient trees in the orchards, their gnarled trunks cloaked in grey lichen. Palm trees had grown there too once, she claimed. Now even their stumps had gone. Each day, John left the hearth to forage in the wreckage of Belicca's gardens. His nose guided him through the woods. Beyond the chestnut avenue, the wild skirrets, alexanders and broom grew in drifts. John chased after rabbits or climbed trees in search of birds' eggs. He returned with mallow seeds or chestnuts that they pounded into meal then mixed with water and baked on sticks. The unseasonal orchards yielded tiny red and gold-streaked apples, hard green pears and sour yellow cherries.

Dear, highly esteemed bookcase, I salute you. For over a hundred years you have devoted yourself to the glorious ideals of goodness and justice. Throughout the hundred years your silent appeal to fruitful work has never faltered. It sustained [through tears] in several generations of our family, their courage and faith in a better future and fostered in us the ideals of goodness and social consciousness.

Varia se teme sã nu ne îndrãgostim unul de altul si se þine toatã ziua de noi. Cu mintea ei strîmtã, ea nu poate înþelege cã noi suntem mai presus de dragoste, cã nãzuim sã ne ridicãm peste tot ce e meschin si trecãtor, peste tot ceea ce ne împiedicã sã fim liberi si fericiþi. Iatã adevãratul înþeles si þelul vieþii noastre: înainte! Nimic nu ne va opri sã ne urmãm calea spre steaua ce strãluceste aprinsã în depãrtare. Inainte, deci! Sã nu rãmîneti în urmã, prieteni...

In a city it's impossible to forget we live in places raised and built over time itself. The past is underneath our feet. Every day when I leave the house , I may walk over a place where a king killed a wolf in the Royal Forest of Stocket, one of the medieval hunting forests ,where alder and birch , oak and hazel,willow, cherry and aspen grew. The living trees were cut down , their wood used to fuel the city's growth , it's trade, it's life.The ancient wood ,preserved in peat, was found underneath the city(The site of the killing is fairly well buried -the wolf and the king had their encounter some time around the early years of the eleventh century)It's the same as in any other city, built up and over and round , ancient woodlands cut down , bogs drained , watercourses altered, a landscape rendered almost untraceable, vanished.Here, there's a history of 8,000 years of habitation , the evidence in excavated fish hooks and fish bone reliquaries, in Bronze Age grave-goods of arrowheads and beakers, what's still under the surface, in revenants and ghosts of gardens , of doo'cots and orchards, of middens and piggeries, plague remains and witch-hunts, of Franciscans and Carmelites, their friaries buried , over-taken by time and stone .This is a stonemasons' city , a city of weavers and gardeners and shipwrights and where I walk , there was once a Maison Dieu, a leper house; there was song schools and sewing schools, correction houses and tollboths, hidden under layers of time, still there

Ranging in different shades of pink from pale to vibrant, the peonies seemed to burst open practically overnight, swarms of bees zipping from flower to flower. In the orchard, fluffy white flowers adorned the cherry trees. The lake glimmered in the distance, the strands of the weeping willows blowing in the warm spring breeze. I'd read somewhere that weeping willows represented strength and were able to withstand the greatest of challenges. I wanted to be the tree, perseverant and ready for anything, even a storm.

You want to leave the moat, to go back to the room; you’re already turning and trying to find the door, covered with fake leather, in the steep wall of the moat, but the master succeeds in grabbing your hand and, looking straight in your eyes, says: Your assignment: describe the jaw of a crocodile, the tongue of a hummingbird, the steeple of the New Maiden Convent, a shoot of bird cherry, the bend of the Lethe, the tail of any village dog, a night of love, mirages over hot asphalt, the bright midday in Berezov, the face of a flibbertigibbet, the garden of hell, compare the termite colony to the forest anthill, the sad fate of leaves to the serenade of a Venetian gondolier, and transform a cicada into a butterfly, turn rain into hail, day into night, give us today our daily bread, make a sibilant out of a vowel, prevent the crash of the train whose engineer is asleep, repeat the thirteenth labor of Hercules, give a smoke to a passerby, explain youth and old age, sing a song about a bluebird bringing water in the morn, turn your face to the north, to the Novgorodian barbicans, and then describe how the doorman knows it is snowing outside, if he sits in the foyer all day, talks to the elevator operator, and does not look out the window because there is no window; yes, tell how exactly, and in addition, plant in your orchard a white rose of the winds, show it to the teacher Pavel and, if he likes it, give the white rose to the teacher Pavel, pin the flower to his cowboy shirt or to his dacha hat, bring joy to the man who departed to nowhere, make your old pedagogue—a joker, a clown, and a wind-chaser—happy.

About sexuality of English mice. A warm perfume is growing little by little in the room. An orchard scent, a caramelized sugar scent. Mrs. MOUSE roasts apples in the chimney. The apple fruits smell grass of England and the pastry oven. On a thread drawn in the flames, the apples, from the buried autumn, turn a golden color and grind in tempting bubbles. But I have the feeling that you already worry. Mrs. MOUSE in a Laura Ashley apron, pink and white stripes, with a big purple satin bow on her belt, Mrs. MOUSE is certainly not a free mouse? Certainly she cooks all day long lemon meringue tarts, puddings and cheese pies, in the kitchen of the burrow. She suffocates a bit in the sweet steams, looks with a sigh the patched socks trickling, hanging from the ceiling, between mint leaves and pomegranates. Surely Mrs. MOUSE just knows the inside, and all the evening flavours are just good for Mrs. MOUSE flabbiness. You are totally wrong - we can forgive you – we don’t know enough that the life in the burrow is totally communal. To pick the blackberries, the purplish red elderberries, the beechnuts and the sloes Mr. and Mrs. MOUSE escape in turn, and glean in the bushes the winter gatherings. After, with frozen paws, intoxicated with cold wind, they come back in the burrow, and it’s a good time when the little door, rond little oak wood door brings a yellow ray in the blue of the evening. Mr. and Mrs. MOUSE are from outside and from inside, in the most complete commonality of wealth and climate. While Mrs. MOUSE prepares the hot wine, Mr. MOUSE takes care of the children. On the top of the bunk bed Thimoty is reading a cartoon, Mr. MOUSE helps Benjamin to put a fleece-lined pyjama, one in a very sweet milky blue for snow dreams. That’s it … children are in bed …. Mrs. MOUSE blazes the hot wine near the chimney, it smells lemon, cinnamon, big dry flames, a blue tempest. Mr. and Mrs. MOUSE can wait and watch. They drink slowly, and then .... they will make love ….You didn’t know? It’s true, we need to guess it. Don’t expect me to tell you in details the mice love in patchwork duvets, the deep cherry wood bed. It’s just good enough not to speak about it. Because, to be able to speak about it, it would need all the perfumes, all the silent, all the talent and all the colors of the day. We already make love preparing the blackberries wine, the lemon meringue pie, we already make love going outside in the coldness to earn the wish of warmness and come back. We make love downstream of the day, as we take care of our patiences. It’s a love very warm, very present and yet invisible, mice’s love in the duvets. Imagine, dream a bit ….. Don’t speak too badly about English mice’s sexuality …..

Dulapul a fost făcut exact acum o sută de ani. Ce spui? Am putea să-i serbăm jubileul! Fără îndoială, e un lucru neînsufletit, totusi, oricum ar fi, e un dulap de cărti. (…) (Pipãind dulapul.) Dulap scump si stimat! Salut existenta ta, care de o sutã de ani e destinatã idealului luminos al binelui si dreptãtii! Chemarea ta tãcutã pentru o muncã rodnicã n-a slãbit de-alungul unui veac întreg, susþinînd (printre lacrimi) în familia noastrã, din tatã în fiu, curajul si credina generatiilor într-un viitor mai bun, crescîndu-ne în spiritul idealurilor de bine si ale constiinþei sociale...

Kami Castillo My Books Browse ▾ Community ▾ All down the stone steps on either side were periwinkles in full flower, and she could now see what it was that had caught at her the night before and brushed, wet and scented, across her face. It was wistaria. Wistaria and sunshine . . . she remembered the advertisement. Here indeed were both in profusion. The wistaria was tumbling over itself in its excess of life, its prodigality of flowering; and where the pergola ended the sun blazed on scarlet geraniums, bushes of them, and nasturtiums in great heaps, and marigolds so brilliant that they seemed to be burning, and red and pink snapdragons, all outdoing each other in bright, fierce colour. The ground behind these flaming things dropped away in terraces to the sea, each terrace a little orchard, where among the olives grew vines on trellises, and fig-trees, and peach-trees, and cherry-trees. The cherry-trees and peach-trees were in blossom--lovely showers of white and deep rose-colour among the trembling delicacy of the olives; the fig-leaves were just big enough to smell of figs, the vine-buds were only beginning to show. And beneath these trees were groups of blue and purple irises, and bushes of lavender, and grey, sharp cactuses, and the grass was thick with dandelions and daisies, and right down at the bottom was the sea. Colour seemed flung down anyhow, anywhere; every sort of colour piled up in heaps, pouring along in rivers....

God took His time to carve out the perfect place, Sam remembered her grandma always saying. Indeed, the hilltop was akin to a real cherry on top of a stunningly picturesque sundae. Bayview Point was home to two of northern Michigan's most popular orchards and tourist stops: Very Cherry Orchards and her family's Orchard and Pie Pantry. The first half of the hill was dense with rows of tart cherry trees, and the limbs of the small, bushy trees were bursting with cherries, red arms waving at Sam as if to greet her home. In the spring, these trees were filled with white blossoms that slowly turned as pink as a perfect rosé, their beauty so tender that it used to make Sam's heart ache when she would run through the orchards as part of her high school cross-country training. Often, when Sam ran, the spring winds would tear at the tender flowers and make it look as though it were snowing in the midst of a beautiful warm day. Like every good native, Sam knew cherries had a long history in northern Michigan. French settlers had cherry trees in their gardens, and a missionary planted the very first cherry trees on Old Mission Peninsula. Very Cherry Orchards grew nearly 100 acres of Montmorency tart cherries in addition to Balaton cherries, black sweet cherries, plums, and nectarines. They sold their fruit to U-Pickers as well as large companies that made pies, but they had also become famous for their tart cherry juice concentrate, now sold at grocery and health food stores across the United States. People loved it for its natural health benefits, rich in antioxidants.

Человечество идёт вперёд, совершенствуя свои силы. Всё, что недосягаемо для него теперь, когда-нибудь станет близким, понятным, только вот надо работать, помогать всеми силами тем, кто ищет истину. У нас, в России, работают пока очень немногие. Громадное большинство той интеллигенции, какую я знаю, ничего не ищет, ничего не делает и к труду пока не способно. Называют себя интеллигенцией, а прислуге говорят "ты", с мужиками обращаются как с животными, учатся плохо, серьёзно ничего не читают, ровно ничего не делают, о науках только говорят, в искусстве понимают мало. Все серьёзны, у всех строгие лица, все говорят только о важном, философствуют, а между тем у всех на глазах рабочие едят отвратительно, спят без подушек, по тридцати, по сорока в одной комнате, везде клопы, смрад, сырость, нравственная нечистота... И, очевидно, все хорошие разговоры у нас только для того, чтобы отвести глаза себе и другим.

She looked out the window, and her heart jumped: the expanse of the pie pantry and orchard shimmered in the early-morning light in front of her, the bay and LaKe Michigan glimmering in the distance. To Sam, it looked as if one of her grandmother's paintings had come to life: red apples bobbed as tree limbs swayed in the breeze; bushes thick with the bluest of blueberries shimmied; peaches, fuzzy and bright, nestled snugly against branches; shiny cars and people dressed in bright T-shirts and caps danced into the pie pantry and into the orchards; near the distance, the cornfields seemed to move as if they were doing the wave at a football game, while cherry trees dotted with the deep red fruit resembled holly bushes out of season. And yet there was an incredible uniformity to the scene despite the visual overload: everything was lined up in neat rows, as if each tree, bush, and person understood its purpose at this very moment. I've forgotten this view, Sam thought, recalling the one from her own bedroom window earlier in the morning. There is an order to life's chaos, be it the city or country, if we just stop for a moment and see it.

Sam scanned the orchards. U-Pickers laughed and posed for photos with apples on their heads, babies in the baskets, hugging trees. She lifted her head to study the sky, blue as her eyes. The clouds moved across the sun, blocking it out for long distances at a time, causing the landscape in front of her to become illuminated one patchwork piece at a time: the rolling hills lined with grass and endless rows of trees, peach, tart cherry, apples of every variety; blueberry bushes sitting at the bottom of the hill where the rain pooled; the old red barn where high school kids doled out baskets for fruit, which Sam's father weighed when they returned; the old shed where more high schoolers handed out free donut samples and sips of apple cider to arriving cars; the farmhouse with shutters- designed with apple cutouts- where her grandparents, Willo and Gordon, lived; the blue-green waters of Suttons Bay stretching out beyond the trees, the Old Mission Peninsula jutting into it; the family cornfields that sat across M-22 and would soon be cut into an intricate corn maze filled with spooks and goblins to scare fall visitors. This slice of northern Michigan was Sam's home, her whole world.

Clearings opened on either side. Familiar smells drifted in the air: fennel, skirrets and alexanders, then wild garlic, radishes and broom. John looked about while his mother tramped ahead. Then a new scent rose from the wild harvest, strong in John's nostrils. He had smelt it the night the villagers had driven them up the slope. Now, as his mother pushed through a screen of undergrowth, he saw its origin. Ranks of fruit trees rose before him, their trunks shaggy with lichen, their branches decked with pink and white blossom. John and his mother walked forward into an orchard. Soon apple trees surrounded them, the sweet scent heavy in the air. Pears succeeded them, then cherries, then apples again. But surely the blossom was too late, John thought. Only the trees' arrangement was familiar for the trunks were planted in diamonds, five to a side. He knew it from the book. The heavy volume bumped against his mother's leg. He gave her a curious look but she seemed unsurprised by the orchards. As the scent of blossom faded, another teased his nostrils, remembered from the same night. Lilies and pitch. Looking ahead, John saw only a stand of chestnuts overwhelmed by ivy, the glossy leaves blurring the trunks and boughs into a screen.

My mother had a passion for all fruit except oranges, which she refused to allow in the house. She named each one of us, on a seeming whim, after a fruit and a recipe- Cassis, for her thick black-currant cake. Framboise, her raspberry liqueur, and Reinette after the reine-claude greengages that grew against the south wall of the house, thick as grapes, syrupy with wasps in midsummer. At one time we had over a hundred trees (apples, pears, plums, gages, cherries, quinces), not to mention the raspberry canes and the fields of strawberries, gooseberries, currants- the fruits of which were dried, stored, made into jams and liqueurs and wonderful cartwheel tarts on pâte brisée and crème pâtissière and almond paste. My memories are flavored with their scents, their colors, their names. My mother tended them as if they were her favorite children. Smudge pots against the frost, which we base every spring. And in summer, to keep the birds away, we would tie shapes cut out of silver paper onto the ends of the branches that would shiver and flick-flack in the wind, moose blowers of string drawn tightly across empty tin cans to make eerie bird-frightening sounds, windmills of colored paper that would spin wildly, so that the orchard was a carnival of baubles and shining ribbons and shrieking wires, like a Christmas party in midsummer. And the trees all had names. Belle Yvonne, my mother would say as she passed a gnarled pear tree. Rose d'Aquitane. Beurre du Roe Henry. Her voice at these times was soft, almost monotone. I could not tell whether she was speaking to me or to herself. Conference. Williams. Ghislane de Penthièvre. This sweetness.

She was walking in the cherry orchard & the moon washed the stiff folds Of her gown with the misery of the century & ah those blisters of consciousness bursting All around her in the air like Descartes’ shooting stars piercing the blackening sky As above her those dangling constellations of Tiny cerise planets trembled With the held expectations of the evening just past from “Cerise

But today, again, I want to learn the character of the trees, even though I know that the names- at least, the names given to them by humans- are not names the trees themselves use. They speak with bark and branch and leaf, with alterations in shade and sunlight, with the patterns of growth rings and with the activity of birds and animals, with movement inside stillness. Even if these aren’t their true names, it is good to speak the designations, even just in my mind, as I watch them and honor them: these apple and cherry orchards of farm and pasture, these maples at the edge of the road and in the woods, the white pines and fir and spruce in the forest, willows by the pond, these birches and beeches, these oaks.

Если против какой-нибудь болезни предлагается очень много средств, то это значит, что болезнь неизлечимо.

Notable from the foreword: The Cherry Orchard and The Seagull were written as "comedies", but have been traditionally performed as "tragedies" by later theater directors.

Подумайте, Аня: ваш дед, прадед и все ваши предки были крепостники, владевшие живыми душами, и неужели с каждой вишни в саду, с каждого листка, с каждого ствола не глядят на вас человеческие существа, неужели вы не слышите голосов... Владеть живыми душами - ведь это переродило всех вас, живших раньше и теперь живущих, так что ваша мать, вы, дядя уже не замечаете, что вы живёте в долг, на чужой счёт, на счёт тех людей, которых вы не пускаете дальше передней... Мы отстали по крайней мере лет на двести, у нас нет ещё ровно ничего, нет определённого отношения к прошлому, мы только философствуем, жалуемся на тоску или пьём водку. Ведь так ясно, чтобы начать жить в настоящем, надо сначала искупить наше прошлое, покончить с ним, а искупить его можно только страданием, только необычайным, непрерывным трудом.

Если бы мой отец и дед встали из гробов и посмотрели на всё происшествие, как их Ермолай, битый, малограмотный Ермолай, который зимой босиком бегал, как этот самый Ермолай купил имение, прекрасней которого ничего нет на свете. Я купил имение, где дед и отец были рабами, где их не пускали даже в кухню.

Человечество идёт к высшей правде, к высшему счастью, какое только возможно на земле, и я в первых рядах! Лопахин. Дойдёшь? Трофимов. Дойду. Пауза. Дойду или укажу другим путь, как дойти.

a Magdalene in a Parisian ballgown.

Mutlu olun... Boş verin... Dünyada her şeyin bir sonu var...

Sonbahar akşamlarında okuyacağız, çok kitap okuyacağız. Önümüzde yeni, olağanüstü güzellikte bir dünya açılacak...

October was a beautiful month at Green Gables, when the birches in the hollow turned as golden as sunshine and the maples behind the orchard were royal crimson and the wild cherry trees along the lane put on the loveliest shades of dark red and bronzy green, while the fields sunned themselves in aftermaths.

You go to class and discuss famous poems. The poems are full of swans, gorse, blackberries, leopards, elderflowers, mountains, orchards, moonlight, wolves, nightingales, cherry blossoms, bog oak, lily-pads, honeybees. Even the brand-new ones are jam-packed with nature. It’s like the poets are not living in the same world as you. You put up your hand and say isn’t it weird that poets just keep going around noticing nature and not ever noticing that nature is shrinking? To read these poems you would think the world was as full of nature as it ever was even though in the last forty years so many animals and habitats have been wiped out. How come they don’t notice that? How come they don’t notice everything that’s been annihilated? If they’re so into noticing things? I look around and all I see is the world being ruined. If poems were true they’d just be about walking through a giant graveyard or a garbage dump. The only place you find nature is in poems, it’s total bullshit. Even the sensitive people are fucking liars, you say. No, you don’t, you sit there in silence like

I'm young, I'm still a student, but I have undergone a great deal! I'm as hungry as the winter, I'm ill, I'm shaken. I'm as poor as a beggar, and where haven't I been — fate has tossed me everywhere! But my soul is always my own; every minute of the day and the night it is filled with unspeakable presentiments. I know that happiness is coming

All Russia is our orchard. The land is great and beautiful, there are many marvellous places in it. Think, Anya, your grandfather, your great-grandfather, and all your ancestors were serf-owners, they owned living souls; and now, doesn't something human look at you from every cherry in the orchard, every leaf and every stalk? Don't you hear voices . . . ? Oh, it's awful, your orchard is terrible; and when in the evening or at night you walk through the orchard, then the old bark on the trees sheds a dim light and the old cherry-trees seem to be dreaming of all that was a hundred, two hundred years ago, and are oppressed by their heavy visions. Still, at any rate, we've left those two hundred years behind us. So far we've gained nothing at all--we don't yet know what the past is to be to us--we only philosophise, we complain that we are dull, or we drink vodka. For it's so clear that in order to begin to live in the present we must first redeem the past, and that can only be done by suffering, by strenuous, uninterrupted labour.

On top of a goodly helping of baby lettuce, Grace placed a neat rectangle of grilled salmon, and then precisely five cherry tomatoes, five broccoli florets, five baby carrots, five cucumber slices, and five slices of green bell pepper. She liked the balance and symmetry of the meal she had made. Still, she liked almonds more, and daring to disrupt the balance of the universe, she threw in a spoonful of an unknown number.

Varia a peur que nous ne tombions amoureux l'un de l'autre. Elle ne peut pas comprendre, avec son esprit étroit, que nous sommes au-dessus de l'amour.

There were streets named Mulberry and Orchard and Cherry, streets bright and tart, streets with a color and a taste.

three major cities, Kiev, Novgorod, and Smolensk. The land in the southern regions of the principality was very fertile; so rich, in fact, that after one ploughing it produced excellent harvests for a number of years without any further tilling. The ax was the main agricultural tool, but ploughs were also widely used for the production of spelt, wheat, buckwheat, oats, and barley. Apple and cherry orchards were widespread in what is today Ukraine. Kievans also engaged in horse and cattle breeding.

Because you're not that kind of man. You have such natural good manners, such a nice, gentle voice, and—and more than that. You're unlike anyone I know: You are—the salt of the earth! Why do you want to be like ordinary people, who drink and play cards? Oh, please, don't do it, I beseech you! You keep on saying that people do not create but only destroy what Heaven has given them. Then why do you destroy yourself? You mustn't, you mustn't—I beseech you, I beg you!

For two decades, our escape defined me. It dominated my personality and compelled my every decision. By college, half my life had led up to our escape and the other half was spent reliving it, in churches and retreats where my mother made it a hagiograpihc journey, on college applications where it was a plea, at sleepovers where it was entertainment, and in discussion groups after public viewings of xenophobic melodrama like China Cry and Not Without my Daughter, films about Christian women facing death and escaping to America. Our story was a sacred thread woven into my identity. Sometimes people asked, But don't a lot of Christians live there? or Couldn't your mother just say she was Muslim? It would take me a long time to get over those kinds of questions. They felt like a bad grade, like a criticism of my face and body...Once in an Oklahoma church, a woman said, "Well, I sure do get it. You came for a better life." I thought I'd pass out -- a better life? In Isfahan, we had yellow spray roses, a pool. A glass enclosure shot up through our living room, and inside that was a tree. I had a tree inside my house; I had the papery hand of Morvarid, my friend nanny, a ninety-year-old village woman; I had my grandmother's fruit leather and Hotel Koorosh schnitzels and sour cherries and orchards and a farm - life in Iran was a fairytale. In Oklahoma, we lived in an apartment complex for the destitute and disenfranchised. Life was a big gray parking lot with cigarette butts baking in oil puddles, slick children idling in the beating sun, teachers who couldn't do math. I dedicated my youth and every ounce of my magic to get out of there. A better life? The words lodged in my ear like grit. Gradually, all those retellings felt like pandering. The skeptics drew their conclusions based on details that I had provided them: my childhood dreams of Kit Kats and flawless bananas. My academic ambitions. I thought of how my first retelling was in an asylum office in Italy: how merciless that with the sweat and dust of escape still on our brows, we had to turn our ordeal into a good, persuasive story or risk being sent back. Then, after asylum was secured, we had to relive that story again and again, to earn our place, to calm casual skeptics. Every day of her new life, the refugee is asked to differentiate herself from the opportunist, the economic migrant... Why do the native-born perpetuate this distinction? Why harm the vulnerable with the threat of this stigma? ...To draw a line around a birthright, a privilege. Unlike economic migrants, refugees have no agency; they are no threat. Often, they are so broken, they beg to be remade into the image of the native. As recipients of magnanimity, they can be pitied. But if you are born in the Third World, and you dare to make a move before you are shattered, your dreams are suspicious. You are a carpetbagger, an opportunist, a thief. You are reaching above your station.

While legend says that Washington felled his father’s cherry tree then nobly confessed, Trump would more likely set fire to the entire orchard then blame his father to his face.

They basked in the sweet-scented breeze, and felt the sunshine warming their bare heads. Petals drifted from the gnarled apple and cherry trees, creating a pretty storm, like confetti. They lay together in the grass, watching a beetle trundling through the blades, its clumsy movements reminiscent of the soldiers' giant transport trucks. Birdsong filled the air, horse buses clopped through the street, and somewhere along the city docks, a ship's whistle blew. When it was time to go home, they packed everything into the basket and walked together, their clasped hands swinging between them. Annalise loved these perfect days with her mother, when the air was warm and the tulips and daffodils were coming up.

If we moved to Bonk we could get a big apartment for the cost of this place—' 'This is our home, Irina,' said the oldest sister. 'Ah, a home of lost illusions and thwarted hopes...' 'We could go out dancing and everything.' 'I remember when we lived in Bonk,' said the middle sister dreamily. 'Things vere better then.' 'Things vere alvays better then,' said the oldest sister. The youngest sister sighed and looked out of the window. She gasped. 'There's a man running through the cherry orchard!' 'A man? Vot could he possibly vant?' The youngest sister strained to see. 'It looks like he wants... a pair of trousers...' 'Ah,' said the middle sister dreamily. 'Trousers ver better then.

FIELD OF DREAMS (novel Shoeless Joe by W. P. Kinsella, screenplay by Phil Alden Robinson, 1989) Field of Dreams is an American version of The Cherry Orchard in which the “orchard” wins. The competition in this story is over the value of the farmland that Ray has turned into a baseball diamond. • Ray: Baseball, family, passion for your dreams • Mark: Money, practical use of the land With characters as variations on a theme and opposition of values, you may want to use the technique of four-corner opposition, explained in Chapter 4. In four-corner opposition, you have a hero and a main opponent and at least two secondary opponents. This gives even the most complex story an organic unity. Each of the four main characters can represent a fundamentally different approach to the same moral problem, and each can express an entire system of values, without the story collapsing into a complicated mess.

Orchard stores advertising cherries and apples, fresh baked goods, gifts appeared along the road. Some promised the best cider donuts or cherry pie, others had outdoor activities where children could burn off some energy, and yet others offered to let you pick your own cherries when the season started. As they approached a store offering a wide selection of samples, Isaac pulled into the parking lot. It seemed like a good time to stretch their legs and grab a snack at the same time. "Let's see what we've gotten ourselves into, Barracuda," Isaac said. He stepped onto the gravel parking lot, the rocks shifting under his flip-flops. Minivans, SUVs, and cars, many bearing out-of-state plates, filled the lot. Inside the store, freezers contained frozen cherries, apple juice from last season, and pies. Fresh baked goods lined shelves, and quippy signs hung from the walls that said things like IF I HAD KNOWN GRANDKIDS WERE SO MUCH FUN, I WOULD HAVE HAD THEM FIRST and I ENJOY A GLASS OF WINE EACH NIGHT FOR THE HEALTH BENEFITS. THE REST ARE FOR MY WITTY COMEBACKS AND FLAWLESS DANCE MOVES. Bass slid his hand into Isaac's as they walked around the store, staying close to him as they sampled pretzels with cherry-studded dips and homemade jams. A café sold freshly roasted Door County-brand coffee and cherry sodas made with Door County cherry juice. In the bakery area, Isaac picked up a container of apple turnovers still warm from the oven- they would be a tasty breakfast in their motel room tomorrow.

In the garden of my childhood my mother grew corn and asparagus, beans, zucchini, and more, but the thing I remember most is the cherry tomatoes, bushy in their cages, the leaves slightly sticky, funny smelling. My mother wore long-sleeve shirts to weed the tomatoes. I remember her plucking them off the bush, my brother and me opening our mouths like baby birds for her to pop them in. I closed my eyes to experience the exact moment my teeth pierced the smooth skin and the tomato exploded in a burst of acid sweet, the seeds slightly bitter in their jelly pouches. The sensation was so unexpected each time it happened that my eyes flew open. And there was my mother, smiling at me. That is what I remember. My mother did not smile often. We have pictures where she is smiling, me or my brother nestled on her lap. You can tell she loves us. Her body language shows it. But mostly we knew she loved us because of how hard she worked for us. Usually elsewhere. But the garden—the garden was her project. In the little time she had not devoted to work and cleaning and trying to hold her small world together, my mother grew food. My brother and I didn't help in the garden, but we were usually playing nearby. We always wanted to be nearby when she was home. I remember her letting us crawl through the dried cornstalks after the ears had been harvested. I remember running my hands through the asparagus that had been allowed to go to seed. I remember eating plums from the old tree that lived in the corner of the yard. I remember her feeding us tomatoes fresh off the vine and still warm from the sun. When I think of those tomatoes, it is not the flavor that moves me. They were shockingly sweet and tangy, but that is not what I remember the most. It is not what I yearned for. Eating cherry tomatoes meant my mother was home; it meant she was smiling at me.

The city kept reminding me of Russia—the cars of the secret police bristling with aerials; women with splayed haunches licking ice-cream in dusty parks; the same bullying statues, the pie-crust architecture, the same avenues that were not quite straight, giving the illusion of endless space and leading out into nowhere. Tsarist rather than Soviet Russia. Bazarov could be an Argentine character, The Cherry Orchard is an Argentine situation. The Russia of greedy kulaks, corrupt officials, imported groceries and landowners asquint to Europe. I said as much to a friend. ‘Lots of people say that,’ he said. ‘Last year an old White émigrée came to our place in the country. She got terrifically excited and asked to see every room. We went up to the attics and she said: “Ah! I knew it! The smell of my childhood!

Not since Mr. Kaiser,” they would say, as if the construction of the Hawaiian Village Hotel on a few acres of reclaimed tidal flat near Fort De Russy had in one swing of the builder’s crane wiped out their childhoods and their parents’ childhoods, blighted forever some subtropical cherry orchard where every night in the soft blur of memory the table was set for forty-eight in case someone dropped by; as if Henry Kaiser had personally condemned them to live out their lives in California exile among only their token mementos, the calabashes and the carved palace chairs and the flat silver for forty-eight and the diamond that had been Queen Liliuokalani’s and the heavy linens embroidered on all the long golden afternoons that were no more.